Slides from my Midwest UX 2012 presentation on new media art. These aren't very useful without the talk - it's mostly pictures from the artists' websites. However, if you see the presentation in person some day this will be a good reference for remembering names and pieces. There are a couple blank slides that are videos in the actual presentation.

2. A Brief History
of New Media Art
Midwest UX
June 1, 2012
Matt Nish-Lapidus, Design Director
@emenel

3. Three Themes

4. Impact of technology on
culture and behavior

5. Post / Trans-humanism

6. Interaction
http://www.flickr.com/photos/mesq/413104380/

7. What is New Media?

8. Old Media
http://www.thinkkc.com/mediacenter/photolibrary/lib_arts.php

9. “All new media objects, whether created from
scratch on computers or converted from
analog media sources, are composed of digital
code...”
Lev Manovich, The Language of New Media (2001)
http://solidwork.tistory.com/entry/Rosso-Restaurant-SO-Architecture-%EB%86%8D%EC%8B%AC-%EC%8C%80%EB%AC%B8%ED%99%94%EA%B4%80-%EC%B0%B8%EC%A1%B0

10. “... media becomes programmable.”
Lev Manovich, The Language of New Media (2001)
http://bobbyrice.blogspot.ca/2009/11/in-game-scene-art-lotr-silent-hill-5.html

11. Five Principles:
1. Numerical Representation
2. Modularity
3. Automation
4. Variability
5. Cultural Transcoding
Lev Manovich, The Language of New Media (2001)

12. Five Principles:
1. Numerical Representation
2. Modularity
3. Automation
4. Variability
5. Cultural Transcoding
Lev Manovich, The Language of New Media (2001)

13. Five Principles:
1. Numerical Representation
2. Modularity
3. Automation
4. Variability
5. Cultural Transcoding
Lev Manovich, The Language of New Media (2001)

14. Five Principles:
1. Numerical Representation
2. Modularity
3. Automation
4. Variability
5. Cultural Transcoding
Lev Manovich, The Language of New Media (2001)

15. Five Principles:
1. Numerical Representation
2. Modularity
3. Automation
4. Variability
5. Cultural Transcoding
Lev Manovich, The Language of New Media (2001)

16. Five Principles:
1. Numerical Representation
2. Modularity
3. Automation
4. Variability
5. Cultural Transcoding
Lev Manovich, The Language of New Media (2001)

17. Spimes?
http://www.dietsinreview.com

18. Everything is programmable
http://www.moma.org/interactives/exhibitions/2011/talktome/objects/146358/

19. Everything is New Media
http://www.flickr.com/photos/stuckincustoms/2786154526/

20. http://stuyspectator.com/2011/09/29/beauty-of-the-gadgets/moma-talk-to-me-by-dennis-rim/

21. http://www.flickr.com/photos/87106931@N00/1432715400/

22. László Moholy-Nagy, Composition A.XX (1924)

23. Max Bill, Junghans Clocks (1924)
http://www.flickr.com/photos/renespitz/4391184667/

24. Technology & Culture

25. “the work of art is often identified with the
building, book, painting, or statue in its
existence apart from human experience. ...
the actual work of art is what the product
does with and in experience”
John Dewey - Art as Experience, 1934
http://www.flickr.com/photos/was_guckst_du/5956728259/

26. “Even the most perfect reproduction of a work
of art is lacking in one element: its presence in
time and space, its unique existence at the
place where it happens to be.”
Walter Benjamin - The Work of Art in the Age of Mechanical Reproduction, 1936

27. Dada
Marcel Duchamp, Bicycle Wheel (1913, 1951) and Fountain (1917)

28. Fluxus
Cage vs. Duchamp: Toronto Musical Chess Match (1968)

29. Nam Jun Paik, TV Buddha (1974)

30. http://see-this-sound.at/files/499/original/original.jpg

31. Nam Jun Paik, Exposition of Music-Electronic Television (1963)

32. Nam Jun Paik, Exposition of Music-Electronic Television (1963)

33. Steve Mann, SeatSale: License to Sit (2001)

34. Steve Mann, SeatSale: License to Sit (2001)

35. Steve Mann, SeatSale: License to Sit (2001)

36. Steve Mann, SightLicense: License to Look (1998)

37. Eduardo Kac, GFP Bunny/Alba (2000)

38. Eduardo Kac, GFP Bunny/Alba (2000)

39. Post / Trans-humanism

40. “Your mind is downloaded out of your head
and somehow spread across a million
foglets. I get that. What I don't get is why. If
you're bored of your body, you could buy a
new one, or temp, or even go transient.
Why become dust?”
Warren Ellis, Transmetropolitan Issue #7 (1997)

41. Eduardo Kac, Time Capsule (1997)

42. Eduardo Kac, Natural History of the Enigma (2003 - 2009)

43. Eduardo Kac, Natural History of the Enigma (2003 - 2009)

44. Stelarc, Third Hand (1980)

45. Stelarc, Third Hand (1980)

46. Stelarc, Third Ear (2007)

47. Rafael Lozano-Hemmer, Body Movies (2001)

48. Rafael Lozano-Hemmer, Body Movies (2001)

49. Rafael Lozano-Hemmer, Body Movies (2001)

50. Interaction and
Computer Vision

51. “If culture, in the context of interactive media,
becomes something we ‘do,’ it’s the interface
that defines how we do it and how the ‘doing’
feels.”
David Rokeby, The Construction of Experience: Interface as Content (1998)

52. “Today digital art, —actually all art—, has
awareness. … Pieces listen to us, they see us,
they sense our presence and wait for us to
inspire them, and not the other way around.”
Rafael Lozano-Hemmer, A conversation between
Josè Luis Barrios and Rafael Lozano-Hemmer (2005)
http://www.visitpreston.com

53. “It is the vision of a computer, a cyborg, an
automatic missile. ... It is the vision of a digital
grid. Synthetic computer-generated imagery is
not an inferior representation of our reality, but
a realistic representation of a different reality.”
Lev Manovich, The Language of New Media (2001)

54. David Rokeby, Body Language (1984 - 1986)

55. David Rokeby, Reflexions (1983)

56. David Rokeby, Reflexions (1983)

57. David Rokeby, Very Nervous System (1986 - 1990)

58. David Rokeby, Very Nervous System (1986 - 1990)

59. “The active ingredient of the work is its
interface. The interface is unusual because it is
invisible and very diffuse, occupying a large
volume of space, whereas most interfaces are
focussed and definite. Though diffuse, the
interface is vital and strongly textured through
time and space. The interface becomes a zone
of experience, of multi-dimensional encounter.
The language of encounter is initially unclear, but
evolves as one explores and experiences.”
David Rokeby on Very Nervous System

60. David Rokeby, Very Nervous System (1986 - 1990)

61. David Rokeby, Very Nervous System (1986 - 1990)

62. David Rokeby, International Language (2011)

63. Norman White, The Helpless Robot (1987 - 1996)

64. Norman White, Telephonic Arm Wrestling (1986)

65. Steve Mann, Wearable Computers (1980’s - 1990’s)

66. Steve Mann, EyeTap (1980’s - Present)

67. David Rokeby, The Giver of Names (1990 - Present)

68. David Rokeby, The Giver of Names (1990 - Present)

69. David Rokeby, The Giver of Names (1990 - Present)

70. David Rokeby, The Giver of Names (1990 - Present)

71. Design

72. BERG, Here and There (2009)

73. Acrossair, Nearest Tube (2009)

74. Microsoft Kinect
http://www.gamingupdate.com/news/kinect

75. Path
http://www.wired.com/gadgetlab/2011/11/path-version-2-smart-journal/

77. Q&A
Thanks! Further Resources
mattnl@normative.com The Language of New Media (Lev Manovich)
@emenel New Media in Art (Michael Rush)
InterAccess
ThingTank
MIT Media Lab